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One of the first things I did when I started this project

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was to order a kit of recorders, right?

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And so I got these in the mail.

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I've never played this one before, so this was the one I played first.

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That became...

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that's the intro to the Mandalorian theme.

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It's soulful, and it's intimate and almost childlike.

8
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I think it's a very broad sound

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that a lot of people will have their own relations to the sound.

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After I started with a flute, I played a drum over it.

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And then I went over to the piano.

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Doubling the bass line with the piano.

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Very dramatic.

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You know something's about to happen, right?

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You know Ryan Coogler.

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Yeah.

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Every time I saw him, for years, brings you up.

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Was he your roommate at USC?

19
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Yeah, at USC.

20
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We started working together on student films,

21
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and we've worked together since then.

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And so we got together and talked about...

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Do you remember the first thing we discussed?

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I know that we had a...discussed our common...

25
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And then Donald Glover also.

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You were in the studio with him with Lion King.

27
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Yeah, we were working on Lion King,

28
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and I'd been working with him for a few years at that point,

29
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and I also thought it was really cool that you didn't just do music for film,

30
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but you also were part of making songs and popular songs and hip-hop songs.

31
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And I also loved that...what was the short film that you appeared in?

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Clapping...

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Clapping for the Wrong Reasons.

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Clapping for the Wrong Reasons.

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And you sort of cameo in there.

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There's a bit that he does where he's putting some music together,

37
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and it's all these crazy techno-industrial sounds.

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I was like,

39
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"There's something kind of cool there for this particular...this particular story for The Mandalorian",

40
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because Star Wars has a sound,

41
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but then we wanted to bring in kind of a dystopic twist to it, kind of like...

42
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Something different.

43
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Which really makes life a lot easier for me,

44
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'cause if you would've said,

45
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"We want it to sound...we want the Star Wars themes here", that would've been like...

46
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It would've been a really difficult situation.

47
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We gave you many reference points, if I remember.

48
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So we talked about Morricone.

49
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Mm-hmm.

50
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And we talked about the scores for the Kurosawa films,

51
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which are also not traditional.

52
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No.

53
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Different was big. Different was key,

54
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and it's something that for me,

55
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I experienced first talking with George about music.

56
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Star Wars can cover a vaster array of sounds and design than you think.

57
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So when you are immediately talking about different sounds,

58
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you brought up Ludwig, and I was like, "Wow, this is like..."

59
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I think of that moment again, and it makes complete sense for what we were doing.

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You needed to be the person who wasn't gonna be scared to just march out there.

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You guys just made it really fun,

62
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and you took the pressure away and just...

63
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Basically, after every meeting we had, like, "Have fun with it".

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You know, just like, encouraging to just experiment.

65
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You were just so open for experimentation.

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You also did a great job.

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We wouldn't have been that way if we didn't like what you were doing.

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To me, this still feels organic somehow.

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Um, I found this '70s guitar synthesizer called...

70
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This is the Roland GR-500.

71
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It's a very rare guitar synthesizer.

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You can't make computers today sound like this.

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So just sitting and playing, and guitar is my first instrument,

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so just sitting and playing guitar just...

75
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just with this synth sound, to me, kind of created a bunch of new ideas.

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You are Mandalorian!

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Your ancestors rode the great Mythosaur.

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Surely you can ride this young foal.

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Early on, Jon was kind of describing this

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as a samurai, gunslinger, Western show,

81
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and he was always talking about it

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in different terms and describing the character

83
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in a way that made it feel new to me,

84
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so musically, what does that mean?

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It's a one-man journey, you know.

86
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You're just following this guy the whole time.

87
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Musically, you need to tell the story.

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Constantly tell the story and show his emotions through music,

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because you don't see it on his face.

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Obviously, the most important is what the music is and the content of the music.

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The melodies and the harmonies and the rhythm.

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Being the producer, the music is almost as important,

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the way you shape it and the way you make it sound,

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because now we have all these tools to make it different.

95
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The first thing I did after reading all the scripts,

96
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I just got into my studio.

97
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I closed myself off for, like, a month with just instruments.

98
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That is where you'll find your quarry.

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No computers. Normally, like, you're right sitting by the computer,

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and you're transfixed to the computer screen,

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but you don't get anything back from the computer.

102
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If you're sitting with a guitar, it's giving you something,

103
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and to me, that connection was key.

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Those that live here come to seek peace.

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There will be no peace until they're gone.

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I made five songs. Like, five 5-minute songs

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with all different flavors for different characters or different planets.

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After a month of doing that, I went over to the studio where Jon and Dave were,

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and I pulled up, like, my themes on my phone.

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Immediately when they heard it, they were like,

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"That's it. That's so cool. That's the sound. I never heard that before".

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You hear it?

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This guy.

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On a recorder in his bathtub.

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I never got a recorder to sound so good.

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The bath...in the woods.

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- In the woods? - In the woods.

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- No. - No.

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Go into this delay.

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You can't do music for Star Wars

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without working on something that looks like a robot, right?

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I don't like this.

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You always were paranoid.

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This is just...I think just something I work with

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to just kind of create sounds, still by hands and still by playing.

126
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It feels like a toy, almost.

127
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Like, if you spend hours just turning around and buttons...

128
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and pressing buttons, you know, these things are extremely powerful

129
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and can create interesting soundscapes

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that might lead you to another idea.

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It's all about creating worlds.

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You want to have the whole visual world connected to it through the audio.

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No! Burg, what are you doin'?

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What?

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Intruder alert.

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Sounds inspire me to another sound...

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kind of like a kindergarten playground, almost, environment.

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But that kind of environment, the best creativity came out of me.

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Anything, man. You can do anything with this.

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To me, this is all by chance, too.

141
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You don't know what's gonna happen.

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We started with something,

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you know, started something that was very different,

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and then we added on another element,

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which was kind of like what we talked about,

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like the dystopian, the tech.

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Like, putting all this organic '70s instruments

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through computers and filters and making it modern,

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and then the third element, which is the orchestra,

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to kind of honor Star Wars, in my opinion.

151
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I wanted to get that same sound that we...

152
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It makes a huge difference when you have 80 people in a room

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play their instruments, and all, you know, putting a human touch.

154
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And your wife and your unborn child.

155
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And my wife and my unborn child, who...

156
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She was concertmaster for the sessions.

157
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I was very moved. The whole thing felt so good,

158
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and I was coming off of doing Lion King and features,

159
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so to me, it was the efficiency also, 'cause it was a big orchestra.

160
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But you don't have much time with all those players,

161
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so you just rip through it.

162
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But to me, it was your confidence and the fact that you didn't seem

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daunted or scared, and if you were, you didn't let it on,

164
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because the one thing, the biggest lightning rod in Star Wars,

165
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I think, is the music, because it's the one thing...

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Everybody has different opinions about which movies they like better

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or characters or lines of dialogue or story-lines.

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Everybody who loves Star Wars,

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they may have their opinions about, you know, the specificities of it,

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but everybody is in agreement that the music is iconic and perfect,

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and I think our biggest goal is to not feel

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like we were just repeating or drawing upon

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what had come before as a shortcut to get through to the audience.

174
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Thank you guys so much for being here.

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What we're recording today is a show called Mandalorian,

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and it's Lucasfilm's first live-action Star Wars show.

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Thanks for coming in.

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You're the first people to have any flavor of what we're doing.

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What you're hearing and playing here is one part of it,

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and of course, there's a whole tech element to it

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that's gonna be mixed in with it.

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But really, it's about humanity,

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and it's about humans playing instruments and bringing your artistry to it.

184
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And I'm so excited to be here.

185
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It just rolled away from me.

186
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What score do they have in front of them? Okay, let's start on one and 11, then.

187
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So we'll start with HammerTime, I guess.

188
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HammerTime? That what it's called?

189
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Yeah.

190
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I was once a Foundling.

191
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I know.

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Scoring your music with a live orchestra,

193
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that's the best part of this job.

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Up until then, you've only been inside your studio just by yourself.

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You go to the scoring stage, and everyone's there.

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Jon, Dave.

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We're all there, and we hear the music being performed

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by the best musicians in the world.

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And just hear how much it changes and how special it is

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and hear them really bring the music to life.

201
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And you look up on the screen, the characters really come alive.

202
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I got goosebumps.

203
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How awesome was that?

204
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It's just the beginning, guys.

205
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The tracking fob is still active.

206
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My sensors indicate that there is a life form present.

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This was something completely different from what I've done before.

208
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It's eight episodes.

209
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It's just so much music.

210
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It's almost like scoring three feature films.

211
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I wanted a through line throughout the show.

212
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But then also, every episode is so specifically different.

213
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It takes place in a different world with new characters.

214
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It's almost like every episode is its own story in itself.

215
00:16:21,310 --> 00:16:22,850
That is really fun as a composer.

216
00:16:22,940 --> 00:16:27,360
How can you make everything has its own sound but also tie it together?

217
00:16:31,740 --> 00:16:37,080
As we went along, I was like, "Okay, well, we need a new theme for every episode".

218
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And then obviously, the Mandalorian theme to tie it all together.

219
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There are certain directors that work with composers.

220
00:16:54,800 --> 00:16:59,890
Like, Luc Besson works with his composer from the very beginning,

221
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and then you can play those themes on set.

222
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And for me, it can help me with my writing,

223
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'cause I was still working on season one, season two,

224
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and all of a sudden, it took on its own personality,

225
00:17:12,070 --> 00:17:15,070
and it also amazed me how orchestral it ended up being, too.

226
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So we did have a lot of what people have come to expect from Star Wars in it,

227
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but yet, it's its own thing.

228
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And to think about that, too, we have this

229
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kind of huge benefit but also impediment

230
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in that everybody knows what a Stormtrooper is.

231
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If a Stormtrooper walks onto the set, everyone's like,

232
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"So cool. Look at the Stormtrooper".

233
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That's not how it was when George made Star Wars.

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People said, "Can you believe this thing"?

235
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"What are they doing"?

236
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"Can't believe we're doing this".

237
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Everybody wants to make this great.

238
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Everybody wants to give their best.

239
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He had to somehow get the best out of everybody

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and explain what the heck a Jedi is and...

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It's so overwhelming to think about.

242
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It's a miracle, thinking of it that way.

243
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I think of the challenges we face...

244
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We're taking it from here to here.

245
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Yeah.

246
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He took it from nothing to this.

247
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And at the same time, it can also hurt us,

248
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because people almost put too much grandiose importance on things

249
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that should be fun and light or should just be allowed to play.

250
00:18:09,960 --> 00:18:15,630
Yes, it's Star Wars, but if we lose focus on it being this exciting adventure

251
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that is mainly directed at kids, as George always held to that,

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then we're changing it into something it's not meant to be

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'cause we're trying to cherish it so much, we're holding it too tight.

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The same could've been true of the music, you know, when you did it,

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if we just stuck to what was always done and didn't take a chance,

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you know, to do something different and yet honor what was there.

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It's a very fine line.

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I got introduced to Star Wars through the music.

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John Williams, what he's done with film music is beyond words.

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When I hear it, it makes me feel like a kid again.

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You've taken your first step into a larger world.

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The impact that it had on me, it really got me into classical music.

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His music is so intelligent and emotional.

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It's been inspiring going back in time and rediscovering some of his music.

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I went back and listened to his other work...

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and imagined what made him kind of create the sound that we all know

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and just listen to the way that he experimented with sounds

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and using modern sounds with an orchestra.

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That got me extremely inspired.

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I'll never be able to do what John Williams has done,

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but I want to try to bring something new and something exciting

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and something that hopefully will be able to make kids listen the same way

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and get kids excited the way I did.

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I have a lot of friends that are film-music nerds.

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I think what's been really cool has been seeing how invested people are in this.

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Like, there's...people are like, "I love it".

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You know, to hear the two different information,

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like, people either love it or they really hate it,

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and I feel like the people that hated it,

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I've heard that it takes them a couple episodes,

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and they get used to it, and then by the end,

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they're like, "I love this now".

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It was our way of saying, "We're not competing with Star Wars".

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Star Wars is Star Wars, and we love Star Wars,

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and we're not pretending we're Star Wars.

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We're our own thing that is an off-shoot of that.

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It allowed us to bring new characters into the world,

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and it allowed us to show new planets and new time periods,

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and all of that, I think people get pretty quickly when they hear the theme.

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Well, I think, too, we've talked about with what we did visually,

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and it's just true of Star Wars.

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It's very generational.

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Every couple years, there are kids that have their own Star Wars.

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There's the original trilogy,

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there's a type of expanded-universe group of people,

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there's prequel people, then there become Clone Wars people,

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and so on and so on, and they all love Star Wars.

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They all love similar-but-different things about Star Wars,

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and when you think about it, your music,

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those kids will have a powerful connection as they grow up with this

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that they become the next generation of people that carry on these stories.